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Sitges Film Festival 2013

Afflicted
Afflicted

Sitges International Fantastic Film Festival of Catalonia

11 – 20 October 2013

Sitges, Spain

Sitges website

If there is one place on Earth where film lovers can truly find solace, it has to be in Sitges during the Festival Internacional de Cinema Fant&#224stic de Catalunya, which this year celebrated its 46th birthday, presenting yet another packed programme to a hungry audience. For the power of cinema to transform, there can be no better example than a seaside town turning itself into a Mecca for lovers of genre film. For 11 days, Sitges eats, breathes and lives film, with queues of filmgoers on the streets, the celebrity spotters, the red carpet junkies and much, much more.

With Europe still reeling from economic mishaps and with unemployment sky high, it would be foolish to expect any festival to remain untouched. However, it is to Sitges’s credit that the festival managed to maintain an aura of positivity and encouragement, reminding audiences that art plays an important role in lifting the mood of people, as well as in creating new channels of debate.

Although this year’s edition saw many heavy-hitters within the genre present their work to the public, including Eli Roth, Ti West and Lucky McKee, it was the smaller, lesser-known films that stole the limelight.

Afflicted (Derek Lee, Clif Prowse, 2013)
Although at first glance, it seems like just another entry in the over-crowded found-footage market, Derek Lee and Clif Prowse’s entry in the genre proves to be head-and-shoulders above most of their competition. Focusing on the directors’ attempt to travel around the world, Afflicted sees Derek contract a mysterious disease. As his body starts to reject all food and begins to show signs of superhuman strength, the two best friends try to figure out the source of the illness and save Derek before it’s too late.

While Afflicted suffers from all the negative trappings of the found footage film, it’s not long before the keen eye of the directors makes itself felt. The set-up is familiar, yes, and the acting decidedly hit and miss, but it’s the technical prowess and the sheer adrenaline excitement of some of the set pieces that really carry the film forward. Reminiscent of the last climax of Josh Trank’s Chronicle (2012), these set pieces are both technically impressive and visually exciting, giving the film a momentum that at other times can be lacking. Overall it can be considered a very impressive calling card from two young directors who prove what you can achieve with very little money.

Les rencontres d’apr&#224s minuit (Yann Gonzalez, 2013)
Ali and Matthias, along with their transvestite maid Udo, prepare for a midnight orgy in their apartment – they’re waiting for the arrival of The Star, The Teen, The Slut and The Stud. With such a set-up, the audience might expect some sort of vivid, garish and highly questionable scenes to play out, as one after another the members of the orgy arrive. What we get instead is a delicate and very deliberate rumination on the nature of time, on love, on desire and on very large penises.

With thrilling and seductive electronic sounds from M83, Yann Gonzalez’s first feature-length film may fall short of its ambitions, but nonetheless this is one of the more original and engaging films to emerge from any country this year. Boasting a talented cast including Eric Cantona as The Stud, Les rencontres d’apr&#224s minuit (You and the Night) deserves to find an audience with those willing to take their cinema in more intelligent form.

Watch the trailer for Les rencontres d’apr&#224s minuit:

Possession (Brilliante Mendoza, 2013)
Brilliante Mendoza’s winning streak comes to an end with his depiction of the supernatural invading the immoral battle between rival television companies. Playing out like a cross between over-wrought satire and found-footage genre film, Possession (Sapi) tells the story of Meryll Flores (Meryll Soriano), who after being unable to get the footage she needs to boost the ratings of her Sarimanok Broadcasting Network, uses underhand tactics and buys the footage of a real-life possession, filmed by the camera crew of their rival network, Philippine Broadcasting Channel. The director plays this in tandem with the members of the team slowly becoming ‘possessed’ themselves; whether the supernatural stands as a metaphor for the greed and anger that pervades Philppine media is for the audience to decide.

However, the structure of the film does not work with the usual hand-held style of the director, and becomes grating by mid-point. The analogy between the evil that men do and the actions of those in the media feels overdone, and while some of the special effects are eye-popping, there’s nothing here for the audience to really hang onto. Although overall a mess, there’s no doubt to Mendoza’s talent – but it remains up to the director to perhaps distil his message more precisely for his next project.

Watch the trailer for Possession:

Real (Kiyoshi Kurosawa, 2013)
Kiyoshi Kurosawa’s foray into science fiction is built upon an intriguing premise: Manga artist Atsumi (Haruka Ayase) lies in a coma after trying to killer herself by drowning, leaving her lover Koichi lost and bewildered. Koichi (Takeru Satoh) agrees to use new ‘sensing’ technology, which allows him to step into her subconscious and try to bring her back out. However, complications arise when Koichi is inside Atsumi’s mind, experiencing the version of reality created by her subconscious.

Similar in concept to last year’s Vanishing Waves, the film’s promising start gives way to a dull and plodding series of events, which seem to go nowhere. Although Kurosawa continues his exploration of themes such as alienation, loneliness, the self and reality, Real ends up being nothing more than a very forgettable and obvious effort. The deft touch he showed in films like Retribution, and even his recent TV series, is missing here, and what the audience is left with is a bland trip into the subconscious, punctuated by the most ridiculous third-act revelation. An unusual miss from the master.

Watch the trailer for Real:

Ugly (Anurag Kashyap, 2013)
Last year’s Gangs of Wasseypur represented a pinnacle for director Anurag Kashyap: a culmination of his skills in one of the most important films of Indian cinema, a rule-breaking behemoth that defied pretty much everything an industry is known for. However, if Ugly is anything to go by, Anurag Kashyap has not stopped striving; perhaps best described as a low-key companion piece to Gangs of Wasseypur, it is another prime lesson in confrontational cinema.

Rahul, a wannabe actor whose chance to succeed is fast running out, is spending the day with his 10-year-old daughter from a former marriage to Shalini, now a middle-class housewife kept prisoner by her police-chief husband Bose. When Rahul leaves his daughter Kali in the car to pick up a script from his casting-director friend Chaitanya, the little girl goes missing. What follows is the ugliest, most brutal damnation of human nature that cinema has seen for a long, long time. Playing out like a shrine to humanity’s failings, Ugly is one of the darkest, most impressive noir films you could ever hope to see. No one, and it’s worth repeating this, absolutely no one in Ugly has any redeeming qualities, and if anyone makes the mistake of making any humane gesture, they’re promptly punished for it. From the desperate father with a star complex to the ex-wife with suicidal tendencies, Anurag Kashyap exposes all his creations as twisted and horrifying. His ability to take standard Bollywood characterizations and put them through the greed and hunger of the 20th century creates unforgettable moments in a film filled with desperation and excess.

Kashyap also managed to pack into the tight running time some of the most incredible cinematic sequences seen this year. Ultimately, the film is further proof that there’s something very exciting and remarkable happening within Indian cinema; it remains to be seen what Kashyap will offer us next – whatever it is, it certainly will be worth watching.

Watch the trailer for Ugly:

Evrim Ersoy

9th China Independent Film Festival

9th China Independent Film Festival – Cancelled

16-22 November, 2012, Nanjing, China

CIFF website

Most film festival reports follow a fairly established formula: a brief history of the event, followed by a run-through of the highlights of that year, with some concluding thoughts on its position in festival culture and consideration of how it might develop in the future. However, this report of the 9th China Independent Film Festival breaks from critical formula by being a report of a festival that did not happen, and may not happen again due to official intervention. As such, this is perhaps less of a report than an obituary, but one which will try to celebrate the significant achievements of CIFF while bemoaning its sudden demise.

CIFF was founded in 2003 with the intention of providing a platform for Chinese filmmakers whose work was unlikely to receive a mainstream release in their home territory due to strict media censorship. It soon became a vital event for anyone with a genuine interest in features or documentaries that combined formal innovation with unflinching social observation. Although most of the organisation team was based in Beijing, the hub of China’s independent film scene, CIFF was held in Nanjing, the South-East former capital, away from the watchful eye of the State Administration for Radio, Film and Television (SARFT). As with most events of this type, the audience for CIFF was comprised of academics, cineastes, critics, distributors, programmers from other festivals, and students, with attendance gradually increasing to the point that many were standing throughout last year’s screenings in the allocated classrooms at the Communication School of Nanjing University.

To say that 2012 has been a difficult year for festival organisers in mainland China would be an understatement, as the government has reacted decisively upon realising the cultural capital that such events have gradually built up by keeping their activities under the popular radar. In August, the Beijing Independent Film Festival was interrupted when the power was cut mid-way through the opening screening, prompting organisers to implement their back-up plan and relocate to the less public venue of Songzhuang Art District on the outskirts of the city. Considering the tense political climate in a year of government leadership change, the programme planned for CIFF was certainly ambitious. In addition to the usual 10 narrative features and 10 documentaries, the 2012 Asian Experimental Film and Video Festival would have run alongside the main event, with more than 30 films scheduled in conjunction with talks from leading academics in the field. This correspondent was concerned that CIFF would struggle to go ahead around the same time as the 18th National Communist Party Congress. Internet reports stated that handles to open the windows of Beijing taxis had been removed to prevent demonstrators from spreading anti-Party propaganda on the streets of the capital, while the cancellations of the Yixian International Photo Festival and Bishan Harvestival suggested a severe clamp-down on all arts-related activities. CIFF had defied the odds before, running relatively smoothly in 2011 despite the cancellation of several Beijing events a few months earlier, so I remained hopeful and cleared my schedule for a week of screenings.

Sadly, the day before CIFF was due to start, I received a phone call informing me of the festival’s cancellation, then watched a television report on the appointment of China’s new cabinet while waiting on a subway platform. With the planned venues and back-up options falling through due to political pressure, CIFF was unable to go underground. Organisers, filmmakers, and attendees who had already made the journey to Nanjing prior to the cancellation announcement were left to socialise for a few days around the university district, with festival founder Zhang Xianmin of Beijing Film Academy proving to be a truly gracious and good-humoured host under difficult circumstances by arranging these activities. The ‘opening up’ of China is often discussed in relation to its national cinema, with Jia Zhangke’s state-approved productions The World (2004), Still Life (2006), and I Wish I Knew (2010) cited as examples of SARFT’s gradual acceptance of art-house cinema with social ideologies that do not exactly toe the party line. However, the situation is actually more complicated, with the degree of official tolerance shifting annually, meaning that windows of opportunity for provocative filmmakers can open when the state sees the benefits of cooperation with the independent sector, only to be slammed shut again if the political climate becomes too sensitive. CIFF succeeded admirably in providing a forum for the kind of filmmakers who do not want to wait for script approval, and will hopefully rise again, probably under a new banner and in a different city, but with the same unwavering sense of purpose.

John Berra